Chapter 798 Top calligraphy and painting

Jin Muchen stopped in front of the first painting, because the light shining in this painting was too dazzling.

Although the color on the canvas has been seriously distorted due to the age of this painting, the two huge peony flowers on the picture can still be seen as lifelike.

And this painting is exactly one of Japan’s national treasures by the Japanese. The “Red and White Hibiscus” painted by the famous painter Li Di in the Southern Song Dynasty is a representative work of silk paintings in the Southern Song Dynasty.

It is also widely recognized as the pinnacle of flower and bird paintings in the Southern Song Dynasty.

The length and width of this painting are about 26 cm. The painting is meticulous and neat, especially the lifelike and delicate painting style. It can be said to have created a line of Chinese portrait painting and bird painting, so it has a unique history in the history of Chinese art. Very high rating.

This painting was originally in the collection of the Qing Palace. It was the favorite of the emperors of the Qing Dynasty, especially Emperor Qianlong, who liked this painting very much, and usually hung it on the wall of his study to enjoy it.

Later, after Qianlong, Emperor Jiaqing succeeded to the throne. This emperor’s love for antique calligraphy and painting was not as obsessed as his father’s. At that time, he had just copied Heshen, and there are already countless treasures from Heshen. Now, how can I still pay attention to this calligraphy and painting that I didn’t like?

So this painting was put into the cold palace. Later, after the completion of the Yuanmingyuan, it was stored in the Yuanmingyuan.

Later, the British and French allied forces hit the capital, and after looting and looting the Yuanmingyuan, they set fire to this famous garden. Since then, the painting has disappeared and was lost to the people.

Later, it was also collected by the famous Japanese cultural relics dealer, Takashima Kijiro, and the search methods during this period were of course not very glorious. This painting was later donated to the Tokyo National Museum by Kikujiro Takashima.

After finishing the painting, Jin Muchen continued to walk back, and then came to the front of a dazzling painting. The canvas of this painting was the same as the “Red and White Hibiscus” in front. Because of the age, it has become quite yellow.

And because this painting is a splash ink landscape painting, all black and white light ink is used, and no other dyes are used, so the painting is quite faded. Except for some faint mountains and rivers, it is basically impossible to see other appearances.

But even so, this painting still shines with dazzling light, and this painting is also the “Xiaoxiang Lying Tour Picture Scroll” by Li Sheng of the Southern Song Dynasty, which was rated as one of Japan’s national treasures by the Japanese.

The reason why this painting is so precious is also because after the birth of silk painting in the Tang Dynasty, figure painting was the most popular at that time. However, those figure paintings were mainly based on the earliest painting techniques. To put it bluntly, they were not very Realism.

In the Song Dynasty, landscape paintings began to emerge. In particular, the splash-ink landscape painting became popular in the Southern Song Dynasty, and even became the favorite of the famous officials at that time.

And this Li Sheng’s “Xiaoxiang Lying Tour Picture Scroll” is the representative work of ink-splashing landscape painting at that time. It has been circulated for many generations, and it has always been recognized as the earliest representative work of ink-splashing landscape painting. It is a landscape painting in China. has a high status.

And the size of this painting is very large. It turned out to be a complete set of scrolls. It is said that the painting was complete at that time. However, there is a set of twelve giant scrolls with a size of more than 30 square meters, which is the first ink-splashed landscape scroll in history.

Also because of this, this picture scroll. It became an immortal legend in Chinese splash ink landscape painting.

Such paintings that are recognized by the Chinese spread to Japan, and of course they will be recognized by the Japanese, so it is understandable that they are rated as one of Japan’s national treasures.

This painting, like the previous “Red and White Hibiscus”, was originally collected by the Qing court. Jing Yixuan, which was originally kept in Jianfu Palace, flowed out of the palace in the late Qing Dynasty, and was also obtained by the Japanese using disgraceful means.

When he first came to Japan, he fell into the hands of a man named Kikuchi Apeto, but this guy was unlucky enough. When he got it, this painting was a set of paintings.

It’s a pity that he didn’t catch up with the good time. In 2019, there was a big earthquake in Tokyo, and later a fire was caused in his residence. At that time, this guy was crazy and broke into the goods yard and grabbed a part of this picture scroll. , the rest of the picture scrolls were all buried in the sea of ​​​​fire.

The “Xiaoxiang Lying Tour Picture Scroll” that was later preserved was only such a part of it, which was later donated to the Tokyo National Museum by that Kikuchi.

Looking at the picture in front of him, although it is claimed to be a fragment, it is still a huge picture, and Jin Muchen is unbearably excited.

You must know that in the era of the Southern Song Dynasty, the painters at that time could already paint such large-scale paintings. How difficult is it?

It’s a pity that our descendants are not filial, so that such a great historical relic actually falls into the hands of the wildly ambitious Japanese, and this **** Japanese is already in the country of heaven’s punishment.

God’s punishment has brought disaster to such a great painting. As a result, now, no one can even think of seeing the whole picture of this magnificent work, but can only see the partial fragments, which is really pitiful, deplorable, and even more Hateful!

Thinking of this, Jin Muchen’s hatred for the Japanese could not help but deepen.

It is precisely because of the hatred for the Japanese in my heart that the last two paintings, Liang Kai’s “Snow Scenery Landscape” and Indra’s “Zen Ji Figure Broken Jianhan Mountain Picked Up”, which were rated as national treasures by the Japanese, were not found by Jin Muchen. How to look carefully, because it is really bad mood.

Because he was not in the mood to appreciate the two famous paintings, Jin Muchen simply gave up looking at these paintings, lest the negative emotions accumulate too much, and he couldn’t help but attack on the spot.

He simply began to put his mind on the security measures in this room, which was incredible and startled him.

The security measures in the porcelain exhibition hall before have made the scalp tingling, and the monitoring facilities in this exhibition hall, in Jin Muchen’s opinion, can be described as maddening.

It can almost be described as a post at ten steps and a post at five steps. There are dense camera probes on the walls, on the roof, in the corners, and even on the walls.

Moreover, those paintings are covered with glass covers and must not have escaped. Even the security guards who are not usually present in the museum are constantly patrolling back and forth in this exhibition hall at this time.

It seems that the Japanese are right. This exhibition hall has become the top priority of the entire museum, and the defense is very strict.

This made Jin Muchen feel very headache. I will not talk about the previous exhibition halls, they have been very strict, and this one can be described as heaven and earth.

Unless you come here without any second thoughts, if you come here with crooked thoughts, I am afraid that you will be captured on the spot by these security guards before you can do it.

It’s not that Jin Muchen has not been to museums in other countries before. He has been to many in the United States, and he has also visited the British Museum in the United Kingdom, but this is the first time he has seen such a strictly guarded museum.

But when you think about the current international situation in Japan, it becomes clear.

Japan, a beast country, has never been too humble for their war of aggression back then, even now, and the three countries in the world that were invaded the most by the Japanese in those days and hurt the most were North and South Korea and China.

I don’t want to talk about Beibang. Now I often find it hard to find Japan, not to mention Nanbang. People will come to Japan at any time and set fire to Yasukuni toilets.

These two countries have never educated their citizens, forgetting the pain that the Japanese brought them back then, so the citizens of these two countries hate the Japanese quite madly.

And there is another China that is staring at the side, which makes the Japanese have to be more cautious.

After all, the sins they have committed are too deep and too many.

What’s more, they are still closely following their American dad’s ass, and they are the vanguard of containing China, so they are also afraid that if one day those crazy extremist guys come from China, if they come to them It would be bad if there was trouble in the museum.

After all, these cultural relics here ~www.readmtl.com~ have a history of thousands of years, and they are all very fragile, but they can’t stand the toss of those guys, so they have to deal with it carefully.

Jin Muchen sneered and continued to turn back, and then saw a partial fragment of the “Thirteen Postscript” by Zhao Mengfu of the Yuan Dynasty. Seeing such a fragment of a copybook, Jin Muchen sighed in his heart.

Zhao Mengfu, after Wang Xizhi, is one of the most famous painters and calligraphers in China. His copybooks, even now in China, add up to less than forty pieces in all museums.

But now in Japan there is actually such a piece of a masterpiece, it is really hateful to think about it. If this thing is in China, even if it is a piece, it can definitely be included in the scope of national treasures.

After all, Zhao Mengfu’s hard-brush calligraphy can be said to be another great creation of Chinese calligraphy after Wang Xizhi, and his calligraphy, the kind of character, can be compared with Wang Xizhi’s achievements.

This piece of copybook was also donated by the aforementioned Takashima Kijiro to the Tokyo National Museum, and that guy donated a lot at that time, donating more than 300 top-level precious Chinese cultural relics at one time. . . (To be continued.) Enable new URL